Word: porch
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Dates: during 1970-1979
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...best abstract efforts are seen in "Wire Wheels," (1918) and in "Abstraction, Porch Shadows" (Connecticut, 1915) where the silts of light are only fully realized for their clarity and brightness in an original print like that of the MFA show; the book's print attempt cannot compare, although on the whole the quality of reproduction for this edition excels. The perch railing casts a row of dark stripes, a zebra-like image doubled by refraction onto a rounded object that protrudes from the righthand side of the picture. The distinctness of these evenly-spaced bars of dark and light anticipates...
...clear in the porch shadows what art, if any, he may have seen to create such an interest in clean, abstract imagery, yet his association in these early times with such American artists as John Martin. Georgia O'Keefe, Charles Sheeler, and Marsden Hartley testifies to his following of this parallel art world and its influence is seen plainly in other works. The MFA has eloquently pointed out these connections with its juxtapositions of actual oils, drawings and sculpture by these artists. One of the most exciting comparisons is between Georgia O'Keefe's oil from 1953 at "Abiquiu Trees...
...hypocrisy generated by seven years of undeclared war has come home to America this fall. Scandals, the immensity of which would have crippled any Presidential candidate in the early sixties, have barely ruffled Nixon and his henchmen. A contempt for the public unwitnessed since Warren G. Harding's "front porch" campaign in 1920 as the central feature in a campaign where the incumbent is afraid even to mention his name on stickers and billboards. A year that started off so promising with a string of McGovern primary victories has soured, and weary resignation seems destined to reign once again...
After Marquand had driven his wife to the train station that Saturday in 1943, he drove back to the Kaufmans'. For awhile the two collaborators stood silently on the front porch, until Kaufman finally said, "John, why do you associate yourself with people like the Lindberghs?" Marquand thought a moment and replied, "George you've got to remember all heroes are horses' asses." Marquand makes fun of Apley's inhibitions and his struggle to fit the grip of Boston tradition and his struggle to fit the grip of Boston tradition and not betray it. Yet all his life Marquand sought...
There is the Hopperesque alienation of George Segal's white plaster woman who sits behind the railing of her porch facing a world that does not even exist. And Luis Jiminez has remade the Statue of Liberty into a new symbol of American fertility...